Should modern movies stick to the truth about what they

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Should modern movies stick to the truth about what they

Postby hornplayer » Mon Jan 29, 2001 7:51 pm

Must movies about real life events and people display the whole truth about its subject? Or should they be given a little leeway in the name of making a better, more popular movie? Should a movie tell in the beginning what is true and not true? Should movies like Amadeus and Immortal Beloved display the whole truth in order to educate people, or should they be free to edit the truth, and to what degree?
Elitism and Supply-Side Economics
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Re: Should modern movies stick to the truth about what they

Postby shostakovich » Mon Jan 29, 2001 8:48 pm

Hi Hornplayer. Moviemakers cannot, even if they wnted to, tell the exact truth. Two people, reading the same story, will not "get" the same story because they are different people. Nobody can know the exact truth ---- about anything. I know that's a bummer, and many people won't buy it. Back to the moviemakers, there is a dramatic need to stretch and bend "truth". So EVERY account is fictionalized to some extent. And if a movie gets a viewer to research the "truth", it did a good thing.<P>As for the Britten jibes, it's just some trans-Atlantic kidding. I enjoy the Young Person's Guide and Simple Symphony.<BR>Shos.
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Re: Should modern movies stick to the truth about what they

Postby shostakovich » Sat Feb 03, 2001 2:05 am

I just watched the USA network's Attila. My wife and I chuckled through most of it. I was reminded me of your question. The names Roas, Bleda, Theodosius, Aetius, Theodoric the Visigoth are all correct. Nomadic horsemen of the steppes are generally thought to have had simple, round, portable tents, but after Bleda's death (not likely in single combat with Attila), the Huns really did have riches from the eastern ( centered in Constantinople) and western (centered in Rome) empires. So the more elaborate living quarters may have been the case. I can't swear to it, but I think the locales were wrong for Attila's early years. Nomadic steppe horsemen were at home on level, unforested land. The clothing and weapons I'm suspicious of, too. Little is known of Attila's early years, as the Huns could not write. They probably looked much more Asiatic, although European tribes had been absorbed into the Hunnish empire. The friendship between Aetius and Attila, and the invitation to Rome were fanciful inventions. Attila was not tall, dark, handsome, and wise. He was described as short, wide, beady-eyed, and plenty mean. The final battle of the movie did take place with an alliance of the Visigoths with the Romans and the Ostrogoths with the Huns in 451. Attila did die on his wedding night some 2 years later, but not of poison. He was dead drunk after feasting and whatever else, and he had a nosebleed (not his first). He choked on the blood in his throat at the age of 47. But that's no way for a movie to end.<P>Luckily there IS a music tie-in. Franz Liszt's Battle of the Huns is based on a mural commemorating the battle of 451. <BR>Shos
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Re: Should modern movies stick to the truth about what they

Postby serge urtizberea » Sat Feb 03, 2001 12:48 pm

Speaking of the Battle of the Huns...<P>That is almost as victorious a piece of music as any I've heard! I love this to death. The last four minutes of it are glorious. It's a shame it doesn't get performed or recorded more often. Do any of Liszt's other symphonic poems match this one for plush Romanticism?
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Re: Should modern movies stick to the truth about what they

Postby shostakovich » Sat Feb 03, 2001 6:01 pm

Hi Serge. The most popular of the symphonic poems is Les Preludes. It's also the one deemed worthy of analysis in most Mus. App. texts. Another one I enjoy is Mazeppa. What else do you have on your recording of Battle of the Huns?<BR>Shos
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Re: Should modern movies stick to the truth about what they

Postby serge urtizberea » Sat Feb 03, 2001 7:43 pm

The piece is the fourth work on a disc called "Symphonic Battle Scenes" (Lorin Maazel, Symphonieorchester des Bayerischen Rundfunks (whew!), RCA Victor BG2 68471). Wellington's Victory, 1812 Overture, and Capriccio Italien are the first three works. Maazel takes those first three WAYYY too slow for my taste, but the Hunnenschlacht sounds just fine to me.<P>I'm beginning a little Liszt obsession now, I think... first his Beethoven symphony transcriptions, now his symphonic poems... Funny-- when I was younger, I never listened to him. Couldn't stand his sound. Now I can't get enough of it.
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